On the Bowery - L. Rogosin (1956)
healthy reflex viewer: Query from crude reality Film, delineate the scope of fiction in the docudrama, not so much that we should be reassured, to conjure what the film wants to tell us about the reality of our society, but rather that we require some basic on which to base our conclusions and our outrage, a direct contact with what is happening before our eyes.
On the Bowery questions the nature of a society in which can germinate and grow so much misery on the meaning of a society that is so not the same for all, who does not logically implied by his whole creation. Yet the choice of film is immersion, no contrast is never shown or terminated, all happens in a camera in the Bowery in Manhattan, all town structures they are dedicated many scenes in bars, around alcohol, are part of the misery that is filmed. There is no feeling of rebellion burning living Come back Africa, no reflection on a precarious social condition from the very people who suffer, men use the weapons system that oppresses them for s' out, they look for work, money, even if it must be achieved at the expense of others homeless. The bodies are marked by the wearing of a life spent in the street and their resignation is in itself a cry what charge to push the viewer to the place of those whose apathy has wiped up This ability to respond.
Progression of poverty: the man makes his arrival in the neighborhood with clean clothes and a suitcase, his pay in his pocket he even allows a bit extravagant generosity to offer glass coffee to other customers who are not praying to enjoy it. It is unclear where it came from, what he wants, just know that there is a worker and he wants to stay a few days in the Bowery. Money plays an integrative role, the time around the lenses offered is brief but friendly, the payer is emphatically thanked and every man for himself becomes all together around a table. The guests leave promptly once the finished glass, usability is broken when there is more recognition of the belly, the man sets limits to his generosity, limits of a reasonable order, "I somewhere to sleep tonight, "etc.. The only remaining benefit to his side then his drunkenness to steal her meager bag and sell his watch, trust and friendship is never really possible because they are already of the order of the luxuries of life installed .
Film activist? Activist notes and acts, it acts on its own scale, he fought, he wants to awaken sleeping consciences by the banality of a situation whose persistence, however, not diminish the gravity. But we're only the small crowd in a small criticism, it's about asking how to act necessarily the answer eludes us. The mysterious workings of the great ship world make sense here and paradox became obsessive: the sphere of poverty is within our reach so heavily that it can not be our sole responsibility, we are situated very well yet what kind of superstructure should act. But we wake up time a film of a healthy and legitimate torpor has the merit of empowering us to feel the world as we always forget a little.
Fulfillment of poverty: the Bowery filming for three days is to show that is unbearable bearable, it is experienced and that this morbid ability of adaptation of the human being at the same time it allows him to continue living despite everything , also causes its gradual insignificance, his sweet trivialization. There is an aesthetic of poverty: the black and white dirt, the darkness of grime, the majesty of metal structures airlines, broken faces, dialogues automata.
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